A representative figure of Dusseldorf school

Thomas Struce 1954 was born in Germany. He and Guski are the most famous figures of Dü sseldorf School. His creation is deeply influenced by Bessel's theory, but it has been continued and developed to some extent. After the early exploration and research on the visual center of the picture, Struce found a more thorough method.

In Struce's picture, the traditional concepts such as the center of the picture and the center of interest all failed, and the details in the picture were presented in great detail, which brought the "bystander" perspective to the extreme. The object in the picture is no longer the original object, but a structure and color symbol, even if the object is a spiritual person.

This way of looking like a god or a monitoring system may be understood as a deep suspicion of the world, but a milder statement may be a universal concept that everything exists in this way, without distinction or focus. If there is anything else, it may be the photographer's cold eyes vaguely felt in the photo. Andreas gursky is probably the most familiar member of the Dü sseldorf School. Guski's most direct feature is the large picture. Not only does the picture finally show a large frame, but the scene captured during shooting is also extremely large, which may be like the difference between a 15 inch computer screen and a 24 inch computer screen. The difference in presentation information eventually leads to an unusual picture.

If we analyze the image characteristics of Guski, it may not be completed with a wide-angle lens. Guski's picture is very flat, so it is necessary to use a large camera (different focal length conversion ratio) to reduce the perspective difference caused by wide angle. Many pictures of Guski are digital collages of multiple pictures. After collage, the image scene is magnificent, with clear details and excellent decoration, so Guski is also the best seller among several people.

It should be noted that big pictures are a trend, but not all subjects are suitable for big pictures. Simply enlarging the picture without considering the content of the picture can not achieve good results. Previously, due to technical limitations, photographic frames were really small, but with the progress of digital output technology, larger frames should be considered in artistic creation and exhibition. Generally speaking, about 40 inches is the bottom line of museum collection.